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Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer’s daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip’s mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior—same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn’s wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis¬ 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the “Old Homstead” and “Way Down East” type. Two ex¬ 
terior scenes, one interior, all easy to set. Full of strong sit¬ 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 

in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex¬ 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer’s 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Fi^e Acts, by Charles Townsend. For seven males and four 
females, and three supers. . Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker’s daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check¬ 
mate his schemes, saves the banker, and wins the girl. 


THE PENN PUBLISHING COMPANY 

PHILADELPHIA 


Virginia Visits Santa 
Claus 

By 

ELIZABETH HEYWOOD WYMAN 



PHILADELPHIA 

THE PENN PUBLISHING COMPANY 
1923 





T5 4 j s 


Copyright 1923 by The Penn Publishing Company 


Manufacturing 

Plant 

Camden, N. J. 


©CI.D 66174 

Virginia Visits Santa Claus 

NOV 30 *23 

1 / % 


TMP92-007621 





Virginia Visits Santa Claus 


CHARACTERS 

Virginia, a little girl who wants to believe in Santa 
Claus 

Harry .. her brother 

Isabel . her friend 

Hazel . another friend 

Christmas Spirit, indispensable at Christmas Time 
Santa Claus . . . the children's friend 

Brownie Strong and Brownie Handy, Santa's help¬ 
ers 

Red Cap .... Santa's swift messenger 
Twinkle Eyes and Sharp Ears, Santa's reporters 
Jumping Jack ... an animated toy 

Jack-in-Box a surprise package 

French Doll ... the best of all 

Time of Playing:—A bout forty-five minutes. 


3 



STAGE SETTING 


Scenes I and III. If possible hang back and side 
curtains of inexpensive cheese-cloth to form back¬ 
ground. Out of black paper cut a silhouette of a fire¬ 
place and place back-stage, center. Throw a red light 
throughout scenes. 

Scene II. Buy the necessary amount of crepe pa¬ 
per, stretch full length and cut into short width stream¬ 
ers. Sprinkle with artificial snow and hang over the 
white curtains. The streamers should be fastened on 
wire or heavy twine, and if hooks are placed at the 
top of the white curtains, it will take but a scant min¬ 
ute to put them in place. Remove fireplace. Jack-in- 
Box (see illustration) is placed right, and doll stands 
at left. Throw white light throughout scene. If a 
piece of gauze is stretched across the proscenium arch, 
the play will seem as a dream to the spectators. 


4 


Virginia Visits Santa Claus 1 


SCENE I.— Child’s room, with fireplace at center 
back. 

(Curtain rises, disclosing Virginia sitting in front of 
fireplace reading. As she reads to herself, some one 
behind the scenes recites, “’Twas the Night Be¬ 
fore Christmas.” At close of poem Virginia 
speaks.) 

Virginia. That’s the most bee-utiful poem. 

Harry ( rushes in). Hello there, sis. What are 
you doing? 

Virginia. Oh, Harry, did you ever see Santa 
Claus’ cunning little reindeer? 

Harry. Naw. What you reading, anyhow? 
(Looks over her shoulder.) Aw, that silly stuff. 
Teacher read it to us in school yesterday. 

Virginia. But don’t you believe in Santa Claus or 
anything ? 

Harry. Well, you never saw him, did you? 
Virginia ( doubtfully ). No-o, but the books tell 
just what he looks like and all. ( Eagerly .) Do you 
suppose p’r’aps I might see him, to-night, if I looked 
out of the window after it’s all dark? 

Harry (in a superior way). Well, perhaps seeing 
you’re such a kid and a girl too, you might try, but 
I’m not going to get fooled. I’m too old for that. 

Virginia. I’m going to hang up some stockings like 
the story, and then Santa Claus will just have to come. 

1 The paragraphs within brackets may be omitted. 

5 



6 


VIRGINIA VISITS SANTA CLAUS 


Anyway, he said he would in the letter he wrote me. 
Don’t you remember, Harry? 

Harry. Yes, but- ( Stops short.) Oh, all 

right, sis. 

Virginia ( goes to table). Oh, goody, Harry. 
Mother’s left her sewing here. ( Pulls out stockings.) 
You write the names so Santa Claus will know what 
to put in. (Harry writes.) Wouldn’t it be dreadful 
if he made a mistake and gave us some grown-up 
things? {Holds up stockings one by one.) Here’s one 
for Daddy, and one for Mother, and one for you, and 
one for me. Now let’s pin them up. {Holds up stock¬ 
ings.) This beautiful long one is for Mother because 
she’s just the loveliest mother I ever had. {Takes up 
sock.) Doesn’t Daddy’s look funny? It isn’t nearly 
as big as Mother’s, but I don’t believe he’ll care. Big 
men never get so many things for Christmas. ( 'Takes 
Harry’s.) Here’s yours. It’ll hold quite a lot. Do 
you think it’s big enough ? 

Harry. Sure thing, sis. He’ll manage somehow. 

[Virginia {looks at her own anxiously). Mine’s 
awfully little. I don’t see how Santa can ever get my 
new dolly in it. Do you ? 

Harry. I tell you, sis; you take one of Mother’s 
out of her basket and I’ll pin your name on it. 

Virginia {with a giggle). He’ll think I have awfully 
big feet. Do you really suppose he won’t care, Harry ? 

Harry. Sure he won’t, sis. Girls always get a lot. 
Give it to me. {Pins it up.) Here come Hazel and 
Isabel. I’m going out with my sled. {Exit.)] 

{Enter Hazel and Isabel.) 

Isabel. My mother told me I could stay until six 
o’clock. I think she’s fixing something for our Christ¬ 
mas tree. 

Hazel. Mine told me to run out and play. She said 
little girls shouldn’t see too much on Christmas Eve. 

Virginia. Look what I’ve been doing. I’ve hung 
up all our stockings just where Santa Claus can see 
them when he comes down the chimney. 



VIRGINIA VISITS SANTA CLAUS 


7 


Isabel. Do you believe there’s a Santa Claus? I 
don’t. All the girls say there isn’t any and they’ll think 
you’re an awful baby if you do, won’t they, Hazel? 

[Hazel. Yes, I don’t believe there’s any. I heard 
my mamma talking to my papa about it. 

Isabel. What did they say? 

Hazel. Well, I know, but I’m not going to tell. 

Isabel. You think you’re awfully smart. Anyway 
I know what I’m going to get for Christmas. I’m go¬ 
ing to have a great big doll. 

Hazel. It isn’t going to be as nice as mine. 

Isabel. Yes, it is too, and my doll is going to be 
as big as a baby. You see if it isn’t. 

Hazel. Well, it isn’t going to be as nice as mine. 

Isabel. Yes, it is, too. 

Hazel. No, it isn’t. 

Virginia. Oh, girls, Santa Claus will hear you 
and he won’t like it at all if you talk that way. 

Isabel (crossly). There isn’t any Santa Claus, I 
tell you.] 

Hazel. Santa Claus is- It’s just-- 

(Whispers to Isabel.) (Aloud.) Isn’t it, Isabel? 

Virginia (almost in tears). But he answered the 
letter I wrote him. I found a note in the fireplace. 

Isabel. Aren’t you a baby! 

(Piano begins to play softly.) 

Virginia. Oh, girls, where is that lovely music ? 

Isabel. I don’t hear any music. 

Hazel. Neither do I. 

(Enter Christmas Spirit.) 

Christmas Spirit. Can you see me, Virginia? 

Virginia. Oh, how beautiful, girls, look! 

Hazel. Look at what? 

Isabel. I don’t see anything. 

(The two girls busy themselves with their dolls.) 

Cpiristmas Spirit (to Virginia). You didn’t see 
me, Virginia; but I’ve been right near you all the time 



8 


VIRGINIA VISITS SANTA CLAUS 


you were hanging up the stockings for Daddy and 
Mother and brother Harry. How would you like to 
go with me to see Santa Claus in his workshop ? 

Virginia. Oh! Oh! Then there is a Santa Claus ! 

Christmas Spirit. Of course there is. I go about 
with him every year all over the world. People don’t 
often see me, but Santa could never do all he has to do 
without me. 

Virginia. And you’re really going to take me to 
see him! 

Christmas Spirit. Yes, if you want to. 

Virginia. Oh, goody, goody. And can Isabel and 
Hazel go tpo? 

Christmas Spirit. I’m afraid not. 

Virginia. Oh, dear—they’re my best friends. 

Christmas Spirit. I’m sorry, dear, but they can’t 
hear me or see me, and so I couldn’t possibly take them 
to see Santa Claus. They don’t even believe there is a 
Santa Claus. But I tell you what we’ll do. We’ll 
just put them to sleep now. Perhaps we’ll be able to 
bring Santa Claus back with us, and when they wake 
up I’m sure they will be able to see him. 

(Goes over to Hazel and Isabel and waves her wand 

over them, singing to the tune of “Sweet and 

Low.”) 

Sleep and dream, sleep and dream, 

Dream of the lovely Christ-child, 

While the stars of Christmas gleam, 

Dream of his mercy mild. 

Dream of love beyond our ken. 

Sent from heaven to mortal men, 

Bringing goodwill to all. 

Dream, my little ones, dream, my pretty ones, 
dream! 


CURTAIN 


VIRGINIA VISITS SANTA CLAUS 


9 


SCENE II.— Santa Claus’ Workshop. 

{In background boy dressed as jumping jack, and girl 
dressed as French doll. Two brownies are seated 
working over a sled and a wagon. Jack-in-Box, l. ) 

{Enter Santa Claus.) 

Santa Claus. Hurry up there, my lads. It’s get¬ 
ting late, and I may need that sled and wagon. Red 
Cap ought to be back now from his trip to earth. 
{Two brownies hammer busily on sled and wagon. 
Enter Christmas Spirit and Virginia.) Well, well! 
Here’s a little earth child. She must know you very 
well, Christmas Spirit, or you could never have brought 
her all the way to my house. 

Christmas Spirit. This is Virginia, Santa. They 
told her there wasn’t any Santa Claus, so I brought her 
to see you. 

Santa. Ho, ho! You can’t kill the old chap yet. 
The children couldn’t get along without him. Didn’t 
you get the letter I wrote you ? 

Virginia {timidly). Yes, sir! 

Santa. And didn’t you hang up your stocking? 
I might want to put a sled in it. Ho, ho ! 

{Two brownies have stopped their work and have 
crept up to Virginia.) 

Brownie Strong. What’s she made of ? 

Brownie Handy. Will she break? 

Santa Claus. Here, you brownies! Back to your 
work. She’s a little earth child, and you mustn’t touch 
her. {To Christmas Spirit.) Christmas Spirit, you 
know how to make these toys work. Suppose you 
show them to Virginia while I go out and see if I 
can find Red Cap with my telescope. Can’t start off 
with my sleigh till he’s back. {Goes out. Christmas 
Spirit waves wand and toys come successively to life. 
Dolls dance. Wooden soldiers drill. Drum and fife 
play. Finally all go off, leaving only French; Doll, 


t 


10 VIRGINIA VISITS SANTA CLAUS 

Jumping Jack and Brownies working on sled and 
wagon. Enter Santa Claus.) Can’t see where that 
fellow is. (As Red Cap enters on a run.) Oh, here 
he is at last. 

Red Cap. Quickest trip I ever made. Round the 
earth in ten minutes with my magic cap. All the chil¬ 
dren are expecting you, Santa. I picked up two letters 
for you. Thought I got ’em all on my last round. 

(Hands letters to Santa Claus.) 

Santa Claus (opens letters). Well, well! Bless 
my soul! Here’s a little girl who never saw the snow 
till this year. Now she wants a sled so she can ride 
down hill with the other boys and girls. Brownie 
Strong, finished with that sled? 

Brownie Strong. Yes, sir. Just finished. 

Santa Claus. Take it out and load it on my sleigh. 
Can’t disappoint that little girl. (Opens other letter. 
Chuckles.) Now what do you think this fellow wants ? 
What do you guess, Virginia? 

Virginia. I think maybe he wants a wagon. 

Santa Claus. Well, well, well! What a bright 
little girl you are. That’s just it. Wants to ride down 
the sidewalk when the snow is gone. Brownie Handy, 
that wagon finished? (As Brownie Handy nods.) 
Take it out. (Brownie Handy wheels wagon off 
stage.) Pretty big sleighful I’ll have this year, but 
my reindeer are strong. Most time for me to get off, 
too. Not much left in the shop. We’ll call Twinkle 
Eyes and Sharp Ears. They can tell me if we’ve 
missed anybody. (Claps his hands. Enter Twinkle 
Eyes and Sharp Ears. Twinkle Eyes has on huge 
pair of goggles. Sharp Ears has telephone operator's 
cap.) Look all over the earth, Twinkle Eyes, and see 
if you can find any child that we’ve missed. 

Twinkle Eyes (peers about). I see a little boy 
way off out West. It’s snowing, and his papa hasn’t 
come back from town, and he’s crying because he’s 
afraid Santa Claus can’t find his house. I don’t think 
he’s on your list, Santa. 


VIRGINIA VISITS SANTA CLAUS 


II 


Santa Claus. That will never do. Christmas 
Spirit, put him to sleep and send him a pleasant dream, 
and we’ll find a toy. ( Piano plays softly tune of 
“ Sweet and Low,” and Christmas Spirit waves her 
wand slowly as Santa Claus looks about and finally 
stops at Jumping Jack.) Just the thing! (To 
Brownies who have just crept in and are looking curi¬ 
ously at Virginia, touching her with their fingers, 
etc.) Here, Brownie Strong and Brownie Handy, 
bring out Jumping Jack, and show Virginia how he 
can jump. 

(Two Brownies lift him out by the elbows. First 
Brownie pulls string fastened to back of his collar. 
He lifts arms and legs in jumping-jack fashion.) 

Virginia (claps her hands). Oh, what fun! Do 
it again. (Brownie repeats.) 

Santa Claus (at close of performance). There, 
we don’t want to wear him all out before Freddie gets 
him. Take him out, Strong and Handy. (Brownies 
carry him out.) Now, Sharp Ears, do you hear any¬ 
thing ? 

Sharp Ears. I hear a little newsboy in a poor 
tenement. He’s telling his mother that he has a pic¬ 
ture book to give his little sister, but he hasn’t a cent 
to spend for his brother. 

Santa Claus. We can’t have that. (Looks 
around.) Doll won’t do. (Goes over to box.) 
What’s in this box? I’ve forgotten. 

(Raps on the side. Boy dressed as jack-in-box pops 
out.) 

Virginia (shrieks with joy). Oh! Oh! 

Santa Claus (holding his sides with laughter). 
Come along now. Brownies. Put him back and load 
him on the sleigh. Time we were going. 

(Brownies shut box. Just as they have it closed, out 
he pops again, and they jump back in fright. They 
close it. again and shove it. off.) 


12 


VIRGINIA VISITS SANTA CLAUS 


Virginia. But there’s the dolly. You’re not going 
to leave her all alone! 

Santa Claus. No, no, no! Of course not! 
Strong and Handy, bring her here. 

(Brownies take hold of her arms. She walks out 
stiffly and stands in front of stage. Santa Claus 
presses upon her body and she says “Mamma.”) 

Virginia. She’s the very loveliest of all! (Shyly.) 
Is anybody going to have her? 

Santa Claus (winks at others). How about it, 
everybody? I move we take it to a little girl whose 
name begins with “ V ” and ends in “ a.” All in 
favor say “ Aye.” 

All. Aye! 

Santa Claus. But you mustn’t tell. It’s a secret. 
Virginia. Oh, goody, goody! I guess! 

Santa Claus. Dear, dear. Little girls mustn’t 
guess too much. Take the doll, brownies. Tuck her 
in well so she won’t catch cold and lose her voice. 
(Brownies walk doll off stage. Handy presses her 
slyly as they are going off and she cries “Mamma.”) 
Red Cap, Twinkle Eyes, Sharp Ears, bring around the 
reindeer. We must be off. (The three run off stage. 
In a moment sleigh-bells are heard. To Virginia.) 
Ready now, little girl. We’ll drive down the Milky 
Way and say hello to the man in the moon. He’s a 
good friend of mine. Come on, come on. 

(Takes one of Virginia’s hands and the Christmas 
Spirit the other , and they start off stage as curtain 
falls .) 

SCENE III.— Same room as in first scene. Hazel and 
Isabel are asleep in chairs. Sleigh-bells are heard 
outside. 

Isabel (rubs her eyes and wakes up). What’s that? 
Hazel (also wakes up). I hear sleigh-bells. 

(Santa Claus enters with Virginia.) 


VIRGINIA VISITS SANTA CLAUS 


*3 

Santa Claus. Hello, hello! Anybody here that 
doesn’t believe in Santa Claus? 

Isabel. We all do now. 

Virginia. Where do you suppose I’ve been? To 
Santa Claus’ house, and he has the most interesting 
toys; haven’t you, Santa Claus ? 

Santa Claus. Of course, of course. Finest in the 
sky. 

Virginia. And we came sliding down past the 
moon, and the man in the moon leaned out when he 
saw us and he waved his hand. 

Hazel. Oh, take me back with you, Santa. 

Santa Claus. Can’t do it. It will be broad day¬ 
light now by the time I get started back. Lots to do. 
Have to get to-Sunday school in about five min¬ 

utes, then all around the world—United States, 
Europe, Asia, Africa, everywhere where anybody 
knows me. Come along now. What do you want of 
me? ( Goes to fireplace.) I see. Stockings to fill! 
(Reads.) Mother, Daddy, Harry, Virginia. Can’t do 
it till you youngsters are all in bed. (As they are 
crowded around the stockings, the two Brownies en¬ 
ter softly, one from each side, creep up and tweak the 
girls’ hair. Girls turn around with a little scream. 
Brownies turn somersaults and play other antics while 
girls look on delightedly.) You young rascals, how 
did you get here? 

Virginia (excitedly). I know, I know. They were 
on the runners of the sleigh all the time and you didn’t 
know! 

Santa Claus (laughs). Ho, ho! Well, the young¬ 
sters will play on Christmas Eve, but now you’re here 
you might as well make yourselves useful. Go get 
that—you know what—then when somebody’s asleep 
we’ll put it in this stocking. (Holds up Virginia’s 
stocking and laughs again.) Ho, ho! (Brownies 
run out. Turns to children.) Now if you young¬ 
sters don’t make up your minds to go to bed, I’ll never 
get my work done, never in the world. 

Isabel. Please, Santa, let me tell you something. 



14 VIRGINIA VISITS SANTA CLAUS 

I was asleep when you came, and I dreamed that I 
was the little lame boy down the street, and I was so 
poor, and I was afraid you weren’t going .to bring me 
anything for Christmas. I’m going to ask my mother 
if I can’t take my money out of the bank and buy him 
something, and you won’t forget to stop at his house, 
will you, Santa? 

Santa Claus. No, of course not! We’ll see that 
he has the best Christmas yet, you and I. 

Hazel. Isn’t that funny? I had a dream too. I 
thought I went to see Angelique Mantelli. She’s a 
little girl in our school and she’s been sick. She did so 
want a doll for Christmas. I’m going to give her 
Corinne. She isn’t new, but she’s my own dearest 
doll, and I know she’ll love her. 

Santa Claus. She certainly will, and I think I 
have a carriage in my sleigh that will be just the thing! 

Hazel. Oh, how lovely! Won’t she be pleased! 
(Piano plays softly and Christmas Spirit enters, 
smiling at the children. ) Oh! Oh! Isn’t she lovely ? 
Isabel. Who are you? You’re such a pretty lady. 
Christmas Spirit. I’m the spirit of Christmas. 
I come down to earth each year to bring love and 
kindness and joy to all who will have me. Will you 
keep me with you this Christmas time ? 

Hazel. We want to keep you all the time; don’t 
we, girls ? 

{All run to her and cling to her as she smiles down 
on them. Curtain falls on tableau. Some one sings 
“ Holy NightA During the singing, curtain is again 
lifted .) 


(As encore, characters may be grouped on stage with 
Jack-in-Box popping out, French Doll crying 
“Mamma,” and Jumping Jack performing in turn. 
At a signal they all sing “ Kriss Kringle is Coming,” 
or some other jolly Christmas song.) 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

Price 25 Cents 

GRADUATION DAY AT WOOD HILL SCHOOL* 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes i 
may be presented in a hall without scenery. The unusual com-4 
bination of a real “entertainment,” including music, recitations*\ 
etc., with an interesting love story. The graduation exercises! 
include short speeches, recitations, songs, funny interruption^' 
and a comical speech by a country school trustee. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour* 
Scene, an easy interior, or may be given without scenery. Cos¬ 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in¬ 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. 

BACK TO THE COUNTRY STORE. A Rural Enter¬ 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with¬ 
out scenery. Costumes, modern. All the principal parts are 
cure hits. Quigley Higginbotham, known as “Quig,” a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig’s home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super¬ 
numeraries may be added. Plays forty-five minutes. No special' 
tecenery is required, and the costumes and properties, are all' 
easy. The play shows an uproarious political nominating con-' 
vention. The climax comes when a woman’s rights cham¬ 
pion, captures the convention. There is a great chance to bur¬ 
lesque modern politics and to work in local gags. Every^ 
part will make a hit. 1 

SI SLOCUM’S COUNTRY STORE. An Entertainment?' 
In One Act, by Frank Dumont. Eleven male and five female, 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain¬ 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 


Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

Price 25 Cents 

A SURPRISE PARTY AT BRINKLEY’S. An En¬ 
tertainment in One Scene, by Ward Macauley, Seven male and 
seven female characters. Interior scene, or may be given with¬ 
out scenery. Costumes, modern. Time, one hour. By the! 
puthor of the popular successes, “Graduation Day at Wood Hill 1 
{School,” “Back to the Country Stcre,” etc. The villagers havtf 
planned a birthday surprise party for Mary Brinkley, recently, 
graduated from college. They all join in jolly games, songs/ 
Conundrums, etc., and Mary becomes engaged, which surprises' 
the surprisers. The entertainment is a sure success. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 

features, unusual characters and quick action. Nearly every 

character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
enay be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages t f. _ men to run the 
machine. A Jew, a farmer, a fat lady a u ^ other humorous 

characters give them all kinds of trouble. This is a regular gat- 

ling-gun stream of rollicking repartee. 

THE CASE OF SMYTHE VS. SMITH. An Original 

Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom; requires no scenery; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
\any number of good parts. 

THE OLD MAIDS’ASSOCIATION. A Farcical Enter** 

tainment in One Act, by Louise Latham Wilson. For thirteen; 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty of 
more. Time, forty minutes. The play requires neither scenery' 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. 

BARGAIN DAY AT BLOOMSTEIN’S. A Farcical 

Entertainment in One Act, by Edward Mumford. For five males 
and ten. females, with supers. Interior scene. Costumes, mod¬ 
ern. Time, thirty minutes. The characters and the situations 
.which arise from their endeavors to buy and sell make rapid-firt 
fun from start to finish. 

THE PENN PUBLISHING COMPANY 

3£gf-&DEl£HJA 



Successful Plays for All Girls 

In Selecting You* Next Play Do Not Overlook This List 
Price 25 Cents 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con¬ 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. 

SISTER MASONS. A Burlesque in One Act, by Frank 
Dumont. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess t® learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. 

A COMMANDING POSITION. A Farcical Enter 
tainment, by Amelia Sanford. For seven female char¬ 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to “attain a commanding position/' 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters 
Time, half an hour. Scene, an easy interior. Costumes, modern 
Mabel Sweetly has just become engaged to Harold, but it’s “the 
deepest kind of a secret.” Before announcing it they must win 
the approval of Harold’s uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend 
Maude sees Mabel has a secret, she coaxes and Mabel tells her 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order tc 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her, The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 


The Power of E 


LIBRARY OF CONGRESS 


Expression and efficiency go hand in h 0 015 793 170 2 

The power of clear and forceful expression .brings confi¬ 
dence and poise at all times—in private gatherings, in public 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sure 
of himself. 

The power of expression leads to: 

The ability to think “on your feet” 

Successful public speaking 

Effective recitals 

The mastery over other minds 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de¬ 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request. 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

Philadelphia 



4012 Chestnut Street 



















